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115 U.S. children, teens died from flu last season: CDC
By Julie Steenhuysen
(Reuters) - Some 115 U.S. children and teens died from influenza last flu season, and many of those deaths were of children who had not gotten an annual flu shot, U.S. health officials said on Thursday.
The U.S. Centers for Disease Control and Prevention recommends flu shots for children as young as six months old, yet less than a quarter of the 74 children over age six months who died between September 2010 and August 2011 had been vaccinated.
"It's vital that children get vaccinated," Dr. Lyn Finelli, chief of the CDC's Surveillance and Outbreak Response Team, said in a statement.
The CDC said parents often mistakenly think healthy children can survive a bout of the flu, but that is not always so.
Among the deaths detailed in the CDC's Morbidity and Mortality Weekly Report, released on Thursday, the team found about half of the children had no prior medical condition that would put them at increased risk of flu complications.
The researchers said being young is itself a flu risk factor. Of the children who died, 46 percent were younger than 5 and 29 percent were younger than 2.
Among the 57 children who did have a medical condition, over half had a neurological disorder, 30 percent had pulmonary disease, 25 percent had a chromosome or genetic disorder and 19 percent had congenital heart disease or other cardiac disease.
Only half of the 94 children who died in the hospital were given antiviral drugs, such as Tamiflu. Since the 2009 H1N1 swine flu pandemic, the CDC has recommended immediate treatment with antiviral medications in patients with severe flu symptoms.
"We know the flu vaccine isn't 100 percent effective, especially not in children with high risk medical conditions," Finelli said in a statement.
"That's why it's essential that these two medical tools be fully utilized. Vaccinate first; then use influenza antiviral drugs as a second line of defense against the flu. Right now we aren't fully using the medical tools at our disposal to prevent flu illnesses and deaths in children."
Since the CDC started tracking pediatric flu deaths in 2004, the annual number of deaths has ranged from a low of 46 in the 2005-06 flu season to 282 during the H1N1 swine flu pandemic in 2009-2010.
Even though the circulating strains of flu have not changed since the 2010-2011 flu season, the CDC recommends all Americans over the age of six months get flu shots -- even those who got flu shots last year against the same flu strains.
This year's vaccine protects against H1N1 swine flu and two other flu strains called H3N2 and influenza B.
(Reporting by Julie Steenhuysen in Chicago; Editing by Cynthia Johnston)
Editor's Picks
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Chinese herb mix may shorten flu feverNEW YORK (Reuters Health) - In mild cases of H1N1 influenza, a ...


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Lace USAB Ultra Slim Acoustic Bass Pickup
Sku #H72931000001000
Acoustic Bass Pickups
- Write a Review
45 day price guarantee, 45 day return policy, 100% secure shopping
Slim design allows almost endless adaptations for either acoustic bass or solid body bass.
Designed especially for bass guitar, this passive Lace Sensor bass pickup has an "Ultra Slim" profile that is only 5/16th tall in height. The height allows almost endless adaptations for either acoustic bass or solid body bass.
Single design size allows for 4 or 5 string bass guitars. The USAB Sensor can be surface mounted either with wood screws or a mar resistant 3M adhesive tape that is provided with the pickup. Simply slide the pickup under the strings for installation. No routing or cutting is required.
The USAB comes with a high quality cable and female end pin jack. The pickup jack can be permanently mounted if so desired.
The pickup is humbucking in design and features no noise operation.
The pickup consists of 2 Lace Sensor Micro Matrix Comb bobbins, and triple ceramic 8 magnets as part of this new design. It is passive in design, but can be used without any problems with an active pre amp.
Upgrade the sound of your favorite bass. Order today.

subset: commoncrawl


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Marijuana Jobs Cannabis Careers
Harvester for Cannabis Farm in Biddeford Maine
ATTENTION: WE ARE HIRING! Are you searching for employment today? Do you need work now? Do you want to get hired as a Harvester for Cannabis Farm in Biddeford Maine? Congratulations, your 420 job search is finally over! How do you submit your Resume and Application to this job opening and career opportunity? On this user-friendly and free website Marijuana Jobs Cannabis Careers™, you can quickly submit your Resume and Application to this job listing and other job postings from many reputable employers in the booming Marijuana, Cannabis, Hemp, Weed, and CBD industry. It is really that easy. Get started today by clicking the [Submit Resume] or [Send Application] button now!
About The Company:
- Are you looking for a new job as a harvester for a cannabis producer/farm? We are a company in the 420 industry that is seeking highly motivated harvesters to join our team - ASAP! This is a great opportunity for someone who is looking to further their career in one of the fastest growing industries in America.
Job Title:
- Harvester for Cannabis Farm in Biddeford Maine
Job Duties and Responsibilities:
As a Harvester, you will be responsible for working with the Grow department to coordinate and execute harvests of cannabis flower.
Harvester is responsible for harvesting and processing cannabis flower with quality and efficiency.
Harvester is responsible for accomplishing harvest processes such as cleaning, hanging, drying, bucking, deboning, trimming, curing, and preparing cannabis flower for sale or transfer.
Harvester is responsible for ensuring compliance with company policies and state regulations.
Job Skills, Abilities, and Qualifications:
- Cannabis experience preferred.
- Previous experience in a high-volume production setting is preferred but not required.
- Able to stand for long periods of time.
- Ability to move from one task to another with efficiency.
- Competently follow directions from supervisor(s).
- Seeking candidates with a great attitude and who are excellent team players.
- Per state law, must be at least 21 years of age.
- Resident with a current valid State-issued ID or Drivers License.
- Provide necessary documentation for employment in the United States.
Job Physical Requirements:
- Able to stand for 4-8 hours a day.
- Able to stand on ladders up to 6 ft in height.
- Able to physically lift at least 50 lbs.
Job Benefits:
- Employee discounts.
- Health insurance, vision insurance, and dental insurance. (Insurance for Full-time employees only)
- Accrued Paid Time Off. (PTO for Full-time Employees only).
Job Compensation:
- Depends On Experience.
420 Job & Career Type:
- Contract
- Full-time
- Part-time
- Temporary
420 Job & Career Category:
420 Job & Career Region:
420 Job & Career Compensation:
420 Job & Career Position:
- Harvester for Cannabis Farm in Biddeford Maine
- Marijuana Jobs Cannabis Careers™
Equal Opportunity Employer (EOE) Statement:
Marijuana Jobs Cannabis Careers is equal opportunity employer. All aspects of employment including the decision to hire, promote, discipline, or discharge, will be based on merit, competence, performance, and business needs. We do not discriminate on the basis of race, color, religion, marital status, age, national origin, ancestry, physical or mental disability, medical condition, pregnancy, genetic information, gender, sexual orientation, gender identity or expression, veteran status, or any other status protected under federal, state, or local law. This job description is a product of Marijuana Jobs Cannabis Careers.


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Marcus A. Brown (Reppin Chi-Town) - I Had A Dream (About Chicago) [Label Submitted]
"On the Jay Electronica - Exhibit A Instrumental
Dedicated to all Chicago Natives who are in favor of
Chicago Unity!
Shot & Directed by @MarcusABrown773 &
@FollowTheKelso. For Event Booking/Mixtape Features call 312-857-5012 or email email@example.com"
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


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We are offering tax help for taxpayers, businesses, tax-exempt organizations and others – including health plans – affected by coronavirus (COVID-19).
Economic Impact Payments
We have sent most payments to taxpayers.
Latest Updates on Coronavirus Tax Relief
IRS mission-critical functions continue
We continue to process returns and issue refunds, but we are experiencing delays due to limited staffing. Get up-to-date status on affected IRS operations and services.
Employer Tax Credits
Many businesses that have been severely impacted by coronavirus (COVID-19) will qualify for new employer tax credits PDF – the Credit for Sick and Family Leave and the Employee Retention Credit.
Information for...
Individuals and Families
Changes to filing and payment deadlines and economic impact payments are part of your COVID-19 relief.
- Economic Impact Payments
- People First Initiative
- Refund Interest Payments
- Tax Treatment of Unemployment Benefits
Businesses and Tax-Exempt Entities
Your small or large business or tax-exempt organization may be eligible for COVID-19 relief.
Health Plans and Retirement Plans
If you're a health plan administrator, COVID-19 relief also affects you.
- Coronavirus Relief for Retirement Plans and IRAs
- High-Deductible Health Plans
- Filing and Payment Deadlines
Additional Coronavirus Information and Resources
Visit our Coronavirus and Economic Impact Payments: Resources and Guidance page for our latest content including:
- News Releases
- Tax Tips
- IRS Statements
- Frequently Asked Questions
- Fact Sheets
- Partner Materials and Public Service Announcements in both English and Spanish
- IRS Guidance
- Ready-to-Use Articles
IRS Partners can visit our Economic Impact Payments: Partner and Promotional Materials page for our latest products to share with clients, stakeholders, customers and constituents.
Coronavirus tax relief on social media
Information about coronavirus (COVID-19)
- Coronavirus.gov: Information for the public from the Coronavirus (COVID-19) Task Force at the White House
- Coronavirus Disease 2019 (COVID-19): The latest public health and safety information from the Centers for Disease Control and Prevention.
- What the U.S. Government is Doing: A catalog of all U.S. government activities related to coronavirus. Available in both English and Spanish


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Eastern Indigo Snake, Indigo Snake, Racer
Scientific name: Drymarchon couperi (HOLBROOK 1842)
* Currently accepted name
* scientific names used through time
- Coluber couperi – HOLBROOK 1842
- Georgia couperi – BAIRD & GIRARD 1853
- Compsosoma corais couperi Cope 1898
- Drymarchon corais – STEJNEGER 1899
- Drymarchon corais couperi – CONANT 1958
- Drymarchon couperi – COLLINS 1991
Description: Average adult size is 60-74 inches (152-188 cm), record is 103.5 inches (262.8 cm). Adults are large and thick-bodied. The body is glossy black and in sunlight has iridescent blue highlights. The chin and throat may be solid black, reddish or white that may extend down the body. The belly is cloudy black to blue-gray, sometimes with reddish-orange or white anteriorly. The scales on its back are smooth, but some larger males may possess some dorso-lateral scales that are keeled. There are 17 dorsal scale rows at midbody. The pupil is round. Juveniles are black-bodied with narrow whitish-blue bands.
A. Top of the head
B. Underside of the head (chin and throat)
C. Smooth scales
D. Side of the head
E. Front (face view) of the head
F. Elongated scales below the tail (subcaudal scales) are typically divided
Range: In Florida, Eastern Indigo Snakes occurs throughout the peninsula south to Key Largo; it is rare in the panhandle. Outside of Florida, it occurs in southeastern Georgia.
Habitat: Eastern Indigo Snakes are widespread throughout the state, but have experienced population declines most places. They occur in hardwood forests, moist hammocks, pine flatwoods, prairies, and around cypress ponds.
Comments: HARMLESS (Non-Venomous). Eastern Indigo Snakes are listed as a Threatened Species by both the U.S. Fish and Wildlife Service and Florida Fish and Wildlife Conservation Commission.
Because Eastern Indigo Snakes seek refuge in Gopher Tortoise burrows, along with Eastern Diamondback Rattlesnakes and many other animals, in some parts of Florida the Indigo Snake is called the Gopher Snake.
Comparison with other species: Young Eastern Indigo Snakes might be confused with Eastern Racers (Coluber constrictor), which typically have white chins and throats.


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Safety, performance and sensory experience
To ensure safe, effective products that are pleasant to use, L'Oréal invests unrelentingly in evaluation methods.
Everywhere in the world, consumers share a certain number of strong concerns with regard to cosmetic products. The primary concern is for safety. A non-negotiable prerequisite that disqualifies any product that could provoke undesirable effects such as skin irritation. Second concern: effectiveness. Because innovation is not an end in itself: the new molecules made available through research must really provide a benefit to the consumer, for example in the area of anti-wrinkle results or sun protection. Finally, the effectiveness of a product is also measured in its sensory qualities: a good hand cream must be absorbed well by the skin, a sun cream must not leave the skin greasy. Safety, effectiveness, sensory experience have always been the three key dimensions of L'Oréal's Research. They are measurable thanks to the science of evaluation. An area in which the group has always deployed a wealth of inventiveness.


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cream, dessert, easy, pannacotta, strawberries, strawberry, sweet, vanilla
Last January, I made several resolutions that I hoped to fulfil through the course of the year. A flood in my apartment, which led to several walls being torn out and weeks and weeks of workmen Humpty Dumpty-ing my home back together again killed any drive I had to enact the "entertain at least once a month" resolution. Or any of the myriad food-related resolutions I had, since my kitchen was barely navigable from all the belongings normally hidden away in the storage room.
And so, in the end, I fulfilled none.
This year, I've kept my resolutions equally simple:
- Write more actual letters to people
- Read more classics
- Travel somewhere new
- Drink more water
- Make panna cotta
- Join a new class
- Increase my intake of fruit and vegetables
And so far, I'm off to an unexpectedly good start.
I'm partway through Jane Austen's Northanger Abbey and have Wuthering Heights by Emily Bronte on standby; I'll be travelling to Morocco this fall; and I made panna cotta.
This was a holdover from last year's resolutions and I'm surprised it has taken me this long to finally cross it off my list. (Although, I do think part of my hesitation stemmed from knowing this is a very dangerous recipe to master.)
Panna cotta – literally "cooked cream" in Italian – is nothing more than sweetened cream (or a combination of cream, milk, buttermilk or yogurt) infused with any one of myriad flavours.
It's infinitely adaptable; I've had everything from simple vanilla versions to ones flavoured with orange blossom water, topped with fruits or coulis or left unadorned to let the light flavour come through.
It's silky, soothingly smooth and can be the perfect end to most meals.
And it is ridiculously easy. The hardest part of making this recipe was wading through the hundreds of versions that popped up after a straightforward Google search.
But, for the first time attempting it at home, I wanted something uncomplicated.
Nothing more than cream, vanilla, sugar and gelatin, topped with a few macerated strawberries for colour and flavour.
This version from food blogger and author David Lebovitz fit the bill.
Even making the panna cotta felt soothing: from scraping out the fragrant flecks of vanilla from their pods and stirring them into the cream that was gently heating on the stove, to pouring the liquid into ramekins and putting them to bed in the fridge for the night.
Only attempting to unmould them proved tricky. (If no one is worried about spectacular presentation – and who would be after taking one bite of this dessert? – I probably wouldn't worry about bothering next time and would simply serve them in clear glasses or pretty coloured ramekins instead.)
But any frustrations stemming from their unwillingness to slide out on the first attempt evaporated with the first bite of panna cotta.
Sweet, light, brightened by diced strawberry and speckled with vanilla, it was everything I had hoped for.
If the rest of my resolutions turn out to be this easy, I just might get through all of them this year.
Vanilla Panna Cotta with Strawberries
This version is slightly adapted from David Lebovitz – namely the addition of macerated strawberries – who in turn adapted it from Judy Witts's Secrets From My Tuscan Kitchen. You can find gelatin, which is typically sold in boxes of packets, in the baking section of most grocery stores.
- 4 cups (1 L) whipping cream (or half-and-half)
- 1/2 cup (125 mL) sugar
- 1 vanilla bean, split lengthwise (or 2 tsp/10 mL vanilla extract)
- 2 packets powdered gelatin (about 4 ½ tsp/22 mL)
- 6 tbsp (100 mL) cold water
- 2 cups (500 mL) strawberries, diced
- 1-2 tbsp (15 to 25 mL) sugar (depending on the sweetness of the strawberries)
Heat the cream and sugar in a pot on the stove or in the microwave until the sugar is dissolved. Remove from the heat. Scrape the seeds from the vanilla bean and add them and the pod to the cream. Cover and let infuse for 30 minutes. Remove the pod and rewarm the mixture before continuing.
Lightly oil eight custard cups with a neutral-tasting oil, such as vegetable or safflower.
In a medium-sized bowl, sprinkle the gelatin over the cold water and let stand 5 to 10 minutes.
Pour the warm panna cotta mixture over the gelatin and stir until the gelatin is completely dissolved.
Divide between the prepared cups, then chill until firm (at least two hours). Just before serving, mix together diced strawberries and sugar and let sit while unmolding the panna cotta.
To serve, run a sharp knife around the edge of each panna cotta and dip the ramekin in a dish of hot water to loosen. Unmould onto a serving plate and top with strawberry mixture.
Serves 8.
This first appeared in the Calgary Herald. For more recipe ideas and food stories, check out the Herald's food page.


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Sony Cyber-shot DSC-T700 Review
- Possibly the most stylish camera on the market
- Huge internal memory is easy to access with supplied software
- Auto focus speed among the best available from a point-and-shoot
- Auto options galore: face detection, smile detection, blink detection
- Touch screen idea is still neat after several generations
- Menus are dense, confusing, and sometimes redundant
- Terrible fringing issues in boundary areas can ruin shots
- Erratic metering and white balance
- Noise beyond ISO 200 hasn't improved much over older T cameras
- Average flash performance, battery life
Buy Direct From Manufacturer
By Allison Johnson and David Rasnake
Touch screen cameras certainly are nothing new at this point. But for everyone except jaded camera reviewers, it seems that the novelty of being able to tap your way through settings changes on a huge screen hasn't worn off. Biases about whether or not a touch interface does more to get in the way of ease of operation than it makes up for with cool touch-responsive integrations aside, there's still something a bit "sci-fi" about a camera with little or no physical interface: even though the convenience of actual buttons means that they'll probably never become a thing of the past, touch screens continue to seem like the technology of the future.
Sony can largely be credited for making touch screen ultracompacts one of the hottest niches of the point-and-shoot market, and like clockwork the manufacturer has delivered a premium touch screen camera with every new model cycle. Thus the announcement of the latest flagship Cyber-shot, the
Sony Cyber-shot DSC-T700, wasn't particularly surprising. No one can deny that the T700 looks exceptionally good (although male buyers might opt for a color other than our review unit's hot pink exterior). In fact, it looks like the only thing standing in the way of the T700 being one of our favorite cameras of the year may be the pictures it produces.
The 10.1 megapixel Cyber-shot T700 replaces Sony's T300 premium touch-screen camera, and users interested in a basic overview of the concept might want to proceed by first checking out our Cyber-shot T200 review from last winter.
Sony has visually reworked its T camera, and a 4x Carl Zeiss Vario-Tessar folded optic with SteadyShot optical image stabilization and an effective range of 35-140mm pairs well with the T700's ultra-thin all metal construction, providing a clean-lined look reminiscent of previous Sony T models while going in a different, more clean-lined direction.
Photographic modes and features are relatively conventional, with the T700 providing Sony's standard range of auto, program, and scene modes; a complete list of mode options is as follows:
- Easy: Basic point-and-shoot mode designed for beginners, with LCD screen instructions and severely limited (image size and flash on/off) user input.
- Auto: An more advanced point-and-shoot mode with more user input, Face Detection control, Scene Recognition, and red-eye reduction.
- Program: Point-and-shoot operation with expanded user input – access to sensitivity, white balance, flash options, Dynamic Range Optimizer, color modes, and IS.
- High Sensitivity: The T700 boosts ISO to compensate for flash-less low light shooting or fast-moving subjects.
- Scene: Scene options are divided into two groups (four presets in the main mode list, with the rest in a separate "Scene" position) and include beach, extra high-speed burst, extra high sensitivity, fireworks, landscape, snow, Soft Snap (portrait), twilight, twilight portrait, high sensitivity, Smile Shutter, and underwater.
- Movie: Although it has HD output, the T700 can only record video clips at up to 640×480/30 fps. Video clip duration is limited only by memory card capacity.
Intelligent Scene Recognition technology, which jumps into action when the camera is in Auto mode, has been made more intelligent across Sony's latest models, expanding the number of modes from among which the camera automatically selects. Similarly, Sony's Smile Shutter portrait capture technology has been lightly refined, although we found performance of this feature (which automatically captures an image when a subject is smiling) to work about as well as it had in the past.
Compared to the anti-blink warning systems currently on the market, Sony's anti-blink technology goes a step further: part of the iSCN system, anti-blink automatically takes two shots in rapid succession when a portrait situation is detected, recording only the image in which eyes are open (or warning the shooter if neither shot proves acceptable).
Picture Motion Browser Software
Among its notable features, the T700 also takes Sony's portable photo album concept to new levels. Recognizing that one of the primary conveniences of digital photography is the ability to easily take hundreds of photos anywhere using tiny flash memory, the T700 pulls double duty as a photo viewer with 4 GB of integrated memory (the camera also supports standard varieties of Sony's Memory Stick media, and will default to recording images on external media first if you plug in a card).
In order to take advantage of the camera's portable viewer functions, you'll need to install Sony's Picture Motion Browser image editing and memory management software, and after spending some quality time with the T700, I went ahead and installed the included software package. My photo editing needs are pretty basic, and I imagine that most potential Cyber-shot consumers aren't looking for much more than simple editing functions in addition to support for the portable photo viewer memory management functions that this software provides.
The program itself was installed easily, and after a reboot I was uploading my pictures via USB cable from the camera itself. The default setting is to delete the picture files from the camera once they are imported onto the computer. This seems strange to me, since this is supposed to be a portable photo library. A helpful window popped up and asking me if I really wanted to clear the files from my camera before I made that mistake. Once I had uploaded my photos, it started analyzing each picture to detect features like faces and scenery. Once this was complete, I had the option of displaying only picture with people or landscapes. Not incredibly useful, but a neat feature.
The Sony's resolution makes for massive files for basic web or print use. I hoped to find a setting that would automatically adjust the size of these photos as I uploaded them to my computer, but I didn't find any such feature. It seems that resizing must be done once the pictures are uploaded to your computer. This is done by selecting either an individual photo or group of photos, selecting a maximum range of pixels, and shrinking the photos to match the pixel range. By default, the program will save a copy of the file in another folder on the computer. With some simple adjustments, the software will overwrite the existing file with the resized photo.
Picture Motion Browser also allows for basic photo editing. Changes can be made to saturation, brightness, tone curve, and so on, and photos can also be cropped with the trimming tool. I was happy with the adjustments it made to my photos when I chose to automatically correct them. Outside of these functions, users can also display photos in a slideshow, transfer them to CD or DVD, and tag photos as favorites or give them labels.
The software also allows users to upload files directly to websites like Shutterfly or YouTube. Without opening a web browser, the program allowed me to log into my Shutterfly account and upload a photo. For a casual photographer interested in uploading photos to social networking sites, creating slideshows, and making basic adjustments to photo quality – as well as managing the camera's considerable internal memory – this software delivered.
For a detailed listing of specifications and features, please refer to the specifications table found at the bottom of the review.
Styling and Build Quality
If the overworked adjective "sleek" could ever be applied to a camera, then now is the time. The back of the camera is entirely devoted to a 3.5 inch LCD touch screen display.
On the other side, the flat sliding lens cover gives the visual impression of a slim body that just keeps going and going.
Like other models in the CyberShot T family, the lens is positioned in the upper right corner. With a solid metal build, this is a camera designed to be shown off. Consumers looking for a stylish camera will find it modern and attractive.
Ergonomics and Interface
At just under 5 ounces, the T700 is light enough to slip into a sizable pocket but heavy enough to remind you it's there. Measuring less than an inch wide, it fit easily into my coat pocket when I took it for a spin around the neighborhood.
A true point-and-shoot, I was able to slide the lens cover back, take a picture, and close it again with one hand. However, with a retail price tag of $400 and such an aerodynamic design, I'm sure I wouldn't handle the camera this way regularly. The ultra slim-and-sleek design gives it a slippery feel in the hand and makes it a bit awkward to handle. Though the metal exterior might withstand a certain amount of abuse, I didn't feel compelled to find out exactly how much.
No menu navigation is necessary to begin taking pictures – once the lens is cover is flipped open, the camera powers up in shooting mode. A button on top allows a quick review of the last photo taken. A toggle on the right shoulder operates the zoom action. But with a grand total of three buttons on top of the body, the user is dependent on the T700's touch screen for all other functions.
As with just about every Sony we've ever tested, the menus on the T700 could be simpler. There's arguably too much layering, and too many different paths to get to certain menu areas. The "home screen" concept remains a bit confusing as well, providing overlap and redundancy with other options in the shooting and playback menus. This interface confusion is nothing a few days with the T700 won't clear up for most people, but it can add time and hassle if you're the type of shooter who likes to be able to quickly make adjustments on the fly.
The touch screen seems to be the deal-breaker or maker. Even users with relatively slender fingers found it tricky to hit the small on-screen buttons at times. Those with bigger fingers who gave it a try found it difficult to use and didn't warm up to the T700. An included stylus attaches to the wrist strip, which helps, but doesn't make the touch screen interface perfect. Using the stylus also eliminates fingerprints on the screen, which accumulate quickly. I found that the screen became easier to negotiate as I became more comfortable with the camera.
The touch screen does have advantages. It allows the user to shift the focus within the frame of a shot by touching the display. Again, this function hinges on how cozy the user is with the touch screen interface. The large LCD also offers a nice way to view photos. Sony has geared the T700 for this purpose, giving it 4 GB of storage space and a slew of slideshow options with pre-loaded music and transition effects.
Display performance itself is surprisingly hit or miss, given the 3.5 inch screen's fantastic resolution specs (Sony advertises the display at a very DSLR-like 921,000 dots of resolution). Using the T700 for playback or image viewing, you'll get clear images with rich colors. Oddly, though, the same doesn't hold true for the post-shot review images that pop up for a few seconds immediately after taking a shot: these are unnaturally blocky and pixelated, often making it tough to tell if an image is even precisely in focus. Ultimately, this means more time switching between shooting and playback modes to check images, and several of us who shot with the camera were so unsatisfied with the post-shot image review results that we disabled post-shot image display altogether.
Timings and Shutter Lag
Sony has continued to set increasingly high bars for speed and performance with its ultracompacts. When we reviewed the Cyber-shot T200 last year, the T series flagship from two generations back impressed us with some of the best auto focus and shutter lag numbers we'd seen to date from a point-and-shoot. Since that time, small cameras have continued to get faster by degrees, but refinements to the T camera's basic architecture have apparently helped keep it vying for position at the front of the pack in the speed and performance race.
Shutter Lag (press-to-capture, pre-focused)
|Time (seconds)
|Sony Cyber-shot DSC-T700
|Canon PowerShot A2000 IS
|Fujifilm FinePix F60fd
|Nikon Coolpix P6000
|Panasonic Lumix DMC-LX3
AF Acquisition (press-to-capture, no pre-focus)
|Time (seconds)
|Sony Cyber-shot DSC-T700
|Canon PowerShot A2000 IS
|Fujifilm FinePix F60fd
|Panasonic Lumix DMC-LX3
|Nikon Coolpix P6000
Although users shouldn't expect those kinds of auto focus numbers under all conditions – the T700 is definitely more variable than some competitive models in its performance – with the default settings under optimal lighting conditions, there's no reason not to expect press-to-capture speeds without pre-focusing of well under half a second time after time. This kind of responsiveness, which is easily on par with much more expensive and full-featured advanced compacts, makes the T700 a pleasure to use for grabbing snapshots.
Continuous Shooting
|Panasonic Lumix DMC-LX3
|3.1 fps
|Fujifilm FinePix F60fd
|2.5 fps
|Sony Cyber-shot DSC-T700
|1.6 fps
|Canon PowerShot A2000 IS
|1.6 fps
|Nikon Coolpix P6000
|0.9 fps
Note: Continuous shooting framerates are based on the camera's fastest full-resolution JPEG continuous shooting mode, using the fastest media type available (300x CF, SDHC, etc.), as tested in our studio. "Frames" notes the number of captures recorded per burst before the camera stops/slows to clear the buffer.
Even shooting with SanDisk Extreme III card, the T700 isn't going to outrun your DSLR in continuous drive mode. But its numbers are consistent, respectable, and meet Sony's performance claims.
The only timings-related area where our T700 had a truly poor showing, in fact, was in the amount of time it takes to cycle between shooting and playback modes. Going from shooting into playback can take upwards of 5 seconds to complete, which only added to our frustration with the grainy post-shot review images (as this forced us to spend a lot of time making this cycle).
Auto Focus
The T700's performance calling card is unquestionably its auto focus speed. As noted above, this camera is among the fastest we've tested to date in press-to-capture evaluations under ideal conditions, and in use, the system earned nothing but respect from us for its reliability when it comes to grabbing focus. Even with an AF assist lamp, there's an appreciable difference when shooting with the T700 in poorly lit indoor environments – timings of nearly a second weren't uncommon when working in "ISO 3200" situations. But we saw very few "error outs" working with the T700 over several weeks, with the camera finding its mark on the first try about 95 percent of the time regardless of conditions, and doing so at speeds that were, at worst, moderately fast by any standard.
Sony's aforementioned touch to focus point selection system on its Cyber-shot T cameras is no longer among the avant-garde of gadgetry. It's not even a Sony exclusive technology anymore. But the ability to tap a point on the screen and have the camera lock focus on that area without even having to manually change the focusing mode seems no less a brilliant technological integration than when it first debuted. Besides the auto multi-area/touch override mode that is the T700's default setting, users can opt for conventional center and spot focusing modes, as well as four approximate distance settings that several as de facto focus limiters – hunting for a lock first around the distance you specify. As always, I find an infinity setting, which speeds up press-to-capture times somewhat, an especially useful and versatile inclusion.
Lens and Zoom
Keeping expectations low is the best way to not be disappointed with the image results that come from compact, internally contained optics like those on the T700. But from a pure performance standpoint, these "folded" lenses, which use an optical design not unlike a periscope and thus have no elements that extend beyond the body of the camera itself, definitely have their advantages. In the case of the T700, no protruding lens means nothing to worry about getting damaged by contact while in use. As with all compact Sony optics we've tested, zooming on the T700 is also fast, smooth, and nearly stepless – all contributing to a positive use experience.
There's nothing particularly impressive about the range or the maximum aperture of the T700's Zeiss-branded glass, however. The lens covers the equivalent of 35 to 140mm, for a total of 4x range, with maximum apertures values ranging from f/3.5 at wide angle to f/4.6 at telephoto. The T700 definitely hits the most commonly needed lengths for taking snapshots, though more wide-angle coverage, more speed, or both might be expected from a camera at this price.
One area of lens performance that has consistently earned praise with Sony's T cameras is macro operation. Like its forerunners, the T700 has an excellent close focus setting that ensures consistent lock to well under a quarter of an inch by our measurement. This makes the camera idea for grabbing frame-filling close-ups of even the tiniest subjects, and casual natural/flower photographers will have a lot of fun getting up close and personal.
To get this level of macro focusing performance, you'll have to manual put the camera in Close Focus mode, which disables a few key functions (like the ability to specify a focus point within the frame by touch). Even if you leave the T700 on its default Auto Macro mode, though, it's still possible to capture shots at distances under 2 inches at wide angle.
Power for the T700's on-board flash unit is listed at some over 10 feet at full wide angle using auto ISO. Translation: you won't get room-filling kick from the T700's tiny flash, especially if you lock down the sensitivity at ISO 80. Like most Sony Cyber-shots we've looked at, the T700 trades power for speed with its flash, with the unit's relatively modest full-strength burst recycling in just over 5 seconds on a fully recharged battery.
Flash shots look fine most of the time, with generally even exposure. Though you won't find many control options beyond the basics, there is a slow sync setting for maximizing ambient light and controlling some of the T700's flash-induced harshness.
On that note, the T700's flash metering can be inconsistent. The camera often wants to blow out highlights in flash shots up close, though toning down the flash power in the menu (there's a three-step flash power compensation control) to its reduced setting provides a better baseline for close-up shooting or fill flash outdoors.
Image Stabilization
You might not expect to find optical image stabilization in a camera as tiny as the T700, but in this case, you'd be wrong. This Cyber-shot uses Sony's Super SteadyShot system, which promises sharp shots at shutter speeds several stops below your normal threshold. In our experience with the system, this claim checks out: we were able to shoot consistently sharp images of stationary subjects down to around 1/10 most of the time.
Otherwise, there's little else to report here. The system can be disabled for tripod use, or toggled between single-shot (only stabilized when the shutter release is pressed) or continuous (stabilized all the time, but harder on your battery) modes. You won't find vertical/horizontal panning stabilization modes, however.
Other than a less than stellar flash outing, the news on the T700's performance has been overwhelming good. The disruption to this winning streak, however, is (once again) battery life that struggles to keep up. On the one hand, it's hard to blame the T700: a 3.5 inch high-res screen that's touch-responsive is going to eat up power, and it's not like the camera has much room to hide anything more substantial than a very slim lithium-ion pack.
Apologies made, though, we're betting shooters will still be disappointed by the T700's real world numbers, which never made it above the 175 shot mark in our tests. In one day with lots of image review, we even manage to kill the battery having taken right at 120 shots on the charge. While that's more than most casual users will likely take with the T700 during a night on the town, if you're using the flash frequently or taking advantage of the T700's strengths as an image viewer, having backup batteries on hand at all times will probably be a must if you don't want to end up out of luck mid-shot.
As a final note, although typical camera power-on times were snappy, users should expect a languorous start-up the first time you attempt to fire up the camera after charging the battery. We're assuming this has something to do with recalibrating the T700's detailed remaining power read-out.
It's an old song with Sony's T models: consumers love the looks and performance, while photo-focused reviewers can't believe that anyone would find a camera – especially a $400 camera – that takes such ugly pictures appealing. And while we've heard it before, the same tune can largely be played again for the T700. Sony is making improvements by degrees with some of the image quality issues associated with this concept, but the T700's tiny form factor alone suggests that compromises will have to made somewhere along the way.
So just how bad are the pictures? If you're a casual photographer, don't panic. There are cameras that take better images than the T700, sure, but if you're looking to fill a family photo album or get some memory snaps of family and friends, there's no reason to immediately write off this Cyber-shot. But if more serious picture taking is your cup of tea, the T700 has a few bad habits that you may want to take into consideration before your hard-earned money changes hands.
Exposure, Processing, and Color
Trouble for the T700 starts with its default multi-area metering, which is simply all over the map: at times, the camera will severely underexpose, but usually highlight clipping is the order of the day in scenes requiring much dynamic range. The truth is that the T700's sensor doesn't seem to have a lot of usable range compared to many competitors, giving the system less flexibility to deal with overexposure before clipping and detail loss occur.
Both exposure compensation and metering mode options (the camera also has center-weighted and spot metering choices) are easily accessed via the main quick menu along the bottom of the screen, and it's probably a good idea to familiarize yourself with these controls giving this camera's metering proclivities.
If you find the T700's dynamic range a bit clipped, the inclusion of Sony's Dynamic Range Optimizer (or DRO) system may be of interest. As with other Sony cams, DRO on the T700 provides three levels of adjustment: an auto setting that appears to slightly recurve shadows and mid-tones, a more aggressive post-processing option (DRO Plus) that pulls out even more separation in darker areas, or an option to disable the system altogether.
While compensating exposure to preserve highlights and then using DRO at its maximum setting to push out blocked up shadows did seem to help salvage some mildly backlit scenes, for instance, it's obviously not able to magically restore image information that simply doesn't exist in blown-out areas.
As suggested above, Sony's default processing is a bit harsh and contrasty, but a fat saturation bump imparts a look that works well for many subjects – yielding shots that are crisp, punchy, and ready for immediate printing.
A bit of kick in the blues often helps to counteract the washed-out look of some oversaturated outdoor shots, but Sony's default processing also seems to saturate reds more than might be preferable, exacerbating a tendency to clip the red channel when dealing with vivid subjects.
100% crop
Unfortunately, there's no neutral or "real" rendering option to cut saturation. There is, however, a vivid mode that further boosts saturation and contrast while apparently providing a sharpening bump as well.
Overall, casual users may not be bothered by the lack of adjustablity with the T700. But unlike with many competitive models (Panasonic's very flexible FX500 comes to mind), if you don't like the output the T700 gives by default, there's very little that can be done to tweak it without post-processing.
White Balance
The majority of cameras we test show auto white balance performance under incandescent light that ranges from poor to extremely poor. And the T700 is, unfortunately, toward the lower end of this lower-end scale.
Auto White Balance, 3200K incandescent light
White balance presets also proved inconsistent, often shifting hues slightly between shots with the same lighting. (We even experienced this phenomenon when shooting with the camera on a tripod to take our studio test samples.)
Lens Faults
The T700's tiny, internally contained optic will be a source of consternation for serious photographers interested in this camera. Distortion is a constant battle, with the lens showing strong barrel distortion (where straight lines bow out from center) at wide angle, and pincushioning (straight lines bow in) that's almost as bad at telephoto.
Even more maddening, though, is the lens's fringe issue. Coupled with the fact that the T700's sensor gets overloaded and clips easily (leading to some obvious "bloom" areas around peaked highlights), one of the most pronounced fringing problems we've seen pops up in boundary areas.
100% crop
As a rule, we don't go too hard on cameras with chromatic aberration problems because, as a rule, the resulting fringe is rarely an issue beyond 100 percent viewing. But although most CA that we experience with small cameras isn't likely to ruin shots for the small print or low-res web user groups, the T700's nasty combination issue proves essentially impossible to mask – even at small image sizes. Even without looking for it, strong fringing is hard to miss in the reduced-size sample shot above.
The solution? Some basic picture taking "best practices" for making sure you're avoiding problematic situations whenever possible can go a long way toward staying out of trouble, and cutting the exposure compensation if you have room on the bottom end to do so can help keep the T700's somewhat poor and often unpredictable multi-area metering in check (kicking on the live histogram for this purpose can be a help as well). The example presented above is obviously and admittedly a torturous example from a compositional standpoint, but that doesn't absolve the T700's lens of responsibility for a poor performance in this regard.
Sensitivity and Noise
Sony has tended to leave a bad taste in my mouth with high-sensitivity performance on its Cyber-shot T models. The last flagship T camera we reviewed – last year's Cyber-shot T200 – showed an unrelenting ugliness in its ISO 3200 shots that was hard not to notice even in tiny prints or at very small on-screen display sizes. And while exacting image quality standards clearly take a back seat to style and general performance in the T models, given Sony's price point for this model there's some feeling that (to extend the analogy) the two should at least be riding in the same car.
ISO 80, 100% crop
ISO 100, 100% crop
ISO 200, 100% crop
ISO 400, 100% crop
ISO 800, 100% crop
ISO 1600, 100% crop
ISO 3200, 100% crop
One big problem with the T700 for those who focus on pixel-level details is that your "safe" ISO range for detailed examination or large prints is ISO 80 to 200. By ISO 400, the images are, at the pixel level, already what could be fairly called "noisy," and then Sony's much-derided noise reduction kicks in aggressively to smear out detail and kill saturation above that.
ISO 1600 and 3200 are pretty much as expected, exhibiting the "watercolor" look that has become Sony's unfortunate signature for the T models. Nothing here is worse than before. But looking at ISO 3200 shots from the T700 next to those from previous T cameras suggests that not a lot has improved, either – odd, since Sony has made great strides in getting noise and noise reduction balanced elsewhere in its Cyber-shot group.
Additional Sample Images
Hands down, the T700 is certainly the best looking, most solidly built small camera we've had the pleasure of shooting with this year. Sony usually earns serious points for style and build quality in our evaluations, but the general opinion around here is that they've even outdone themselves with this model. We shoot with a lot of cameras, and in my experience it's rare that random people will approach you to ask about your camera – especially if it's a point-and-shoot. But it happened with the T700. More than once. It really does look that good.
With all of its strengths on the style front and some solid performance marks besides, we're tempted to let the T700 off the hook for its generally lackluster showing in our image quality analysis. Certainly, if you're not hoping for more than a camera for taking pictures of friends and family to post online or make regular-sized prints from, the T700's image quality is generally very livable. But there's no denying the presence of some objectively serious flaws – from color fringing, to excessive saturation, to blown-out highlights, to shaggy high-ISO images – in the T700's sample shots.
So how to rate this Cyber-shot on balance? Like so many things, that all depends on user expectations and preferences. In our view, you can't get anything with more aesthetic appeal at the moment, and so long as you have realistic expectations for the T700's images, this alone may be reason enough to justify the purchase. If you're the type who likes to spend time dissecting the details of your shots, however, the T700 will give you plenty to agonize over.
- Possibly the most stylish camera on the market
- Huge internal memory is easy to access with supplied software
- Auto focus speed among the best available from a point-and-shoot
- Auto options galore: face detection, smile detection, blink detection
- Touch screen idea is still neat after several generations
- Menus are dense, confusing, and sometimes redundant
- Terrible fringing issues in boundary areas can ruin shots
- Erratic metering and white balance
- Noise beyond ISO 200 hasn't improved much over older T cameras
- Average flash performance, battery life
- Premium price may limit appeal
|10.1 megapixel, 1/2.3″ Super HAD CCD
|4x (35-140mm) Carl Zeiss Vario-Tessar, f/3.5-4.6
|3.5″, 921K-dot XtraFine LCD with touch interface
|Shutter Speed
|60-1/1000 seconds
|Shooting Modes
|Auto, Easy Auto, Program, Scene, Movie, High Sensitivity
|Scene Presets
|Twilight, Twilight Portrait, Soft Snap, Landscape, Beach, Snow, Fireworks, Hi-Speed Shutter, Underwater, Gourmet
|White Balance Settings
|Auto, Daylight, Cloudy, Fluorescent 1, Fluorescent 2, Fluorescent 3, Incandescent, Flash
|Metering Modes
|Multi, Center, Spot
|Focus Modes
|Multi AF, Center AF, Spot AF, Flexible Spot AF, four approximate distance AF modes, Macro, Close Focus
|Drive Modes
|Normal, Burst, Self Timer
|Flash Modes
|Auto, Forced On, Slow Synchro, Forced Off
|Self Timer Settings
|10 seconds, 2 seconds, Off
|Memory Formats
|Memory Stick Duo, Memory Stick Pro Duo
|Internal Memory
|File Formats
|Max. Image Size
|Max. Video Size
|640×480, 30 fps
|Zoom During Video
|Rechargeable lithium-ion, 680 mAh
|USB 2.0, AV output (includes HD output), DC input
|Additional Features
|Face Detection, Smile Shutter, Bionz processor, touch screen interface, super macro mode, HD Slide Show with music, scrapbook mode, photo library, Picture Motion Browser software


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All News Releases By Date
Wallingford Chemical Company Fined for Clean Air Violations
Release Date: 10/26/2009
Contact Information: David Deegan, (617) 918-1027
(Boston, Mass. – October 26, 2009) – Cytec Industries, an international chemical company based in Wallingford, Conn., will pay a civil penalty of $155,000 and spend $150,000 to perform an environmentally beneficial project to resolve EPA claims that the company violated the federal Clean Air Act.
The company's Wallingford plant contained a production line that used to manufacture resins. These resins, which are used in the coating of certain types of furniture, contain "Hazardous Air Pollutants." An EPA inspection revealed that Cytec emitted excess Hazardous Air Pollutants, including formaldehyde and methanol, in violation of the National Emissions Standards for Hazardous Air Pollutants for Amino/Phenolic Resins. Cytec also failed to submit to EPA an adequate operating plan for several tanks that store volatile liquids and failed to properly respond to EPA's requests for information.
"Hazardous air pollutants can pose a serious risk to workers and to the public," said EPA Acting Regional Administrator Ira Leighton. "It is critical that all companies make every effort to comply with environmental laws and regulations and minimize pollution."
The environmental project that Cytec will perform involves a two phase effort to reduce volatile organic compounds ("VOCs") and methane emissions from a landfill located at Cytec's facility. Under the settlement, Cytec will conduct emissions monitoring of the landfill and subsequently design and implement a system to capture and control 75 percent of VOCs and methane emissions from the landfill. This system could result in emissions reductions of up to 2,500 tons of methane and 6 tons of VOCs.
Exposure to formaldehyde can result in respiratory symptoms, and eye, nose, and throat irritation. Exposure to methanol can result in blurred vision, headache, dizziness, and nausea. Formaldehyde and methanol are also volatile organic compounds, which contribute to the formation of ground-level ozone (smog). Exposure to ground level ozone can trigger a variety of health problems, including chest pain, coughing, throat irritation and congestion. Exposure to ground level ozone can also exacerbate conditions associated with bronchitis, emphysema and asthma.
Cytec has informed EPA that it has stopped the production of spray dried resins and will dismantle the resin production line. The company still maintains storage vessels for other production lines and has submitted a revised operating plan for them.
More information:
- EPA clean air enforcement in New England (epa.gov/ne/enforcement/air/index.html)
# # #
Search this collection of releases | or search all news releases
View selected historical press releases from 1970 to 1998 in the EPA History website.


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QUEEN Guitarist BRIAN MAY To Embark On 'Born Free' Tour With KERRY ELLIS
Known as one of music's most powerful players, legendary QUEEN guitarist Brian May is going unplugged for a unique tour he is about to embark on with acclaimed singing star Kerry Ellis.
The two have enjoyed a hugely successful musical partnership in recent times, with Kerry earlier this year receiving the "Best Solo Performance" Whatsonstage.com award for "Anthems", the show arranged and produced by May as a showcase for her talents which premiered at London's Royal Albert Hall.
Beginning Monday, November 5, Brian and Kerry are heading out on the road to present their "Born Free" tour, a series of 11 intimate and totally acoustic shows performed under candlelight.
These special intimate concerts provide a chance to see Ellis and May close-up, and are being especially performed to raise awareness of the work of the Born Free Foundation, the global organization which works to protect and conserve threatened species, particularly Africa's magnificent lions, which across much of Africa, are now in serious decline.
Behind the decision to perform the tour is a new recording made by Brian and Kerry of "Born Free", the Oscar-winning song written for the 1966 film of the same name. Invited by Virginia McKenna's Born Free Foundation to view and participate in its work at the Shamwari game reserve and rescue centre in South Africa's Eastern Cape, Brian and Kerry have pledged to support Born Free both publicly and materially. Having recorded both a large-scale production version and an acoustic version of "Born Free", Brian and Kerry will release both versions on one single, with all proceeds going to the foundation.
The 11-date "Born Free" tour, which starts on November 5 mber at The Apex in Bury St. Edmunds, promises an informal evening in the company of Brian and Kerry performing a new collection of their own personal favourite songs as well as new arrangements of some of those they have previously performed in concert and recorded together, sung by Kerry with Brian accompanying her on both guitar and vocals.
Says Brian May: "Over the last year, Kerry and I have been recording new material when our schedules have allowed it. As on the 'Anthems' album, some of the tracks have very big and splendid arrangements, but we have become more and more fascinated with the magic of great songs stripped down to their core and re-interpreted in an 'acoustic' way. We find there is a purity which makes the songs speak very clearly. Kerry's instincts as an interpreter of songs are always inspiring, and the art of arranging has always been one of my obsessions. We have found that the two of us just working live off each other can distill the very essence of a song — and that's what we hope to bring you in these dates. After all, if you have great songs and a great singer, what more do you need? Well, maybe just a little bit of guitar!"
The "Born Free" tour follows a series of acclaimed performances by Kerry and Brian together over the past few years. They stole the show when they performed together on the Royal Variety Show in 2008, they performed live together again at BBC "Proms In The Park" and at 2010's "The Night Of 1000 Voices", and they opened the "Remembrance Day" concert at the Royal Albert Hall. Their "Anthems: The Tour" played 12 hugely successful dates around the U.K. in May 2011.
Tickets for the tour are on sale now priced between £37.50 and £39.50 depending on venue.
The dates are as follows:
Nov. 05 – Bury St Edmunds, UK – The Apex
Nov. 06 – Leamington Spa, UK – The Assembly
Nov. 07 – Corby, UK – The Core at Corby Cube
Nov. 09 – Tunbridge Wells, UK – Assembly Hall Theatre
Nov. 10 – Brighton, UK – St. Georges Church
Nov. 11 – London, UK – Union Chapel
Nov. 12 – St. Albans, UK – Alban Arena
Nov. 15 – Crawley, UK – The Hawth
Nov. 16 – Portsmouth, UK – New Theatre Royal
Nov. 17 – Salisbury, UK – City Hall
Nov. 19 – High Wycombe, UK – Swan Theatre


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Film Studies and History BA (Joint Hons)
About this Course
You can study Film Studies as a joint honours degree with History (50% Film Studies and 50% History). Please read the course description for both subjects.
Course Content
What will you study on this course?
Please click on the link below to see the modules current students on this course are studying.
Modules for the current academic year
Module listings are for guide purposes only and are subject to change. Find out what our students are currently studying on the Film Studies and History Modules page.
Course content is for guidance purposes only and may be subject to change.
Careers and Employability
This is a Joint Honours course, so please read the Employability information for Film Studies and History
Employability and Creative Studies and Media degrees
Creative Studies and Media courses offer a number of career paths for you to choose from once you graduate. They emphasise the importance of creative exploration, and actual university-level critical understanding. These things - the ability to be creatively adaptable, consider the tools at hand and apply creative thinking, the importance of innovation and a combination of practical and critical knowledge - make Creative Studies and Media graduates ideal employees or, indeed, creative entrepreneurs in their own businesses.
Creative Studies and Media courses have seen graduates involved in both academe and in industry, including work in:
- Creative Writing, Professional Writing and Publishing;
- Performance and the Theatre, both on and behind the stage;
- Print and/or Broadcast Journalism;
- Actors, presenters and in television programme production;
- Advertising and the Marketing industries;
- Radio, as presenters, as well as in programme production;
- Digital, Web and New Media production;
- Multi-media industries.
A number of graduates have likewise continued to Postgraduate study.
Some have followed careers in teaching, lecturing, politics and public relations.
Employability and History and Archaeology degrees
The strength of a History and Archaeology degree is its intellectual breadth and flexibility. This makes our graduates an attractive proposition for employers looking for analytical and lateral thinkers.
Transferable skills
Studying History, Archaeology and Heritage prepares our students for the workplace by providing academic skills and honing personal ones:
- Research skills and the evaluation of data sets
- Critical thinking
- Writing and editorial skills
- Confidence and flexibility
- Independent and team working
- Communication and presentation skills
- IT and Time management
- Practical skills in archaeology (survey, excavation and the study of material evidence).
Work experience while you study
The School's work placement module provides an insight into the type of employment to which a degree in History or Archaeology can lead.
Students gain work experience in:
- Archives
- Schools
- Heritage sites (National Trust, Cadw, English Heritage)
- Heritage railways
- Museums
- Westminster Parliament and the Welsh Assembly
- Archaeological digs and units
- Trusts and charities
Read what our students say about the workplace experience (link to work placement page).
Directed personal and professional development while studying helps our students achieve a CV that catches the attention of prospective employers.
In addition to a degree, Bangor students can provide prospective employers with a record of academic and non-academic achievements through the Bangor Employability Award Scheme (BEA) and HEAR report.
Career opportunities
History, Archaeology and Heritage students enter careers in many different fields:
- Archaeological units, archives and librarianship
- Museums and heritage management
- Research (Academic and the media – television, radio, film).
- Teaching in primary, secondary and higher education
- Business and finance professions
- Law
- Commercial, industrial and public service management
- Marketing, sales and public relations
- Civil service, charities and local and regional government
- Personnel
- Leisure and travel
- Tourism
Work experience opportunities at Bangor University
Level 5 and 6 students are provided with the opportunity to complete work-placement modules, which can be carried out in the university or through external organizations. These are assessed as part of the final degree. The programme enhances employability prospects and offers an insight into the type of employment opportunities a degree in history or archaeology offers. Students have undertaken placements in a wide range of workplaces, including archives, archaeological units, museums and heritage centres.
Employment Opportunities
Examples of employment opportunities in history and archaeology can be found at the following sites:
- BAJR (British Archaeology Jobs and Resources)
- The BBC
- The British Museum
- Council for British Archaeology
- English Heritage
- Gwynedd Archaeological Trust
- Institute for Field Archaeologists
- Jobs.ac.uk
- Leicester University Museums Jobs Desk
- MuseumJobs.com
- National Geographic
- National Museums
- The National Trust
- Archäeologie Forum
Opportunities at Bangor
The University's Skills and Employability Service provides a wide range of resources to help you achieve your graduate ambitions. Developing your personal skills and enhancing your employability while at university is becoming increasingly important in today's job market.
The Bangor Employability Award (BEA) and Higher Education Achievement Report (HEAR)
The Bangor Employability Award enables students to build on their transferable skills through the recognition of activities they become involved in during their university life. Students can gain points towards the award through extra-curricular activities such as volunteering, attending workshops or actively participating in the Students' Union's clubs and societies.
The HEAR is a final graduation report that all undergraduates receive. The report itemises all academic achievements and additional extra and co-curricular achievements. Academic achievements appear on the report automatically and students are able to note their eligible activities by using the online platform 'My Employability Hub'. This ensures that future employers are made aware of the additional skills the student has gained outside of the curriculum.
The Award is open to everyone and taking part in the scheme can make a major difference to your performance in the graduate job market.
Bangor University runs undergraduate and postgraduate internship schemes twice a year, which allow students to work in a professional environment while learning relevant skills and earning money.
Internships offer valuable experience in a professional workplace and there are a range of internships you can get involved in.
Student Volunteering
Not only is volunteering worthwhile – it also improves your employability and widens your experience.
The Students' Union has a dedicated Student Volunteering Office (SVB) which currently contributes a total of 600 hours each week, promoting a close relationship between the university and the local community. Find out more on the Student Volunteering pages of the Bangor Student's Union website.
TARGETconnect - Working while you StudyThe Skills and Employability Service offers support to students searching for employment during and after their studies.
- Graduate jobs – Local, National and International
- Full-time, part time, permanent and temporary jobs
- Work experience / internships
- Voluntary opportunities
TARGETconnect advertises the following opportunities:
Entry Requirements
This is a Joint Honours course, so please read the Entry Requirements for Film Studies and History
General University entry requirements
We accept students with a wide range of qualifications and backgrounds and consider each application individually.
All students need to have good basic skills and the University also values IT and communication skills.
As part of the University's policy we consider applications from prospective disabled students on the same grounds as all other students.
To study a degree, diploma or certificate course you'll be asked for a minimum of UCAS Tariff points. For a fuller explanation of the UCAS Tariff Points, please see www.ucas.com
We also consider applications from mature students who can demonstrate the motivation and commitment to study a university programme. Each year we enrol a significant number of mature students. For more help and advice about being a mature student at Bangor, please visit the Study at Bangor site.
Specific entry requirements can be seen on the individual course pages.
EU and International students' entry requirements
For information and further detailed guidance on entry requirements for EU and International Students, including the minimum English Language entry requirement, please visit the Entry Requirements by Country pages. International applicants can also visit the International Education Centre section of our website for further details.
Bangor University offers International Incorporated Bachelor Degrees for International students whose High School qualification is not equivalent to the UK school leaving qualification. The first year (or Year 0) is studied at Bangor International College, an embedded College on our University campus and delivered by Oxford International Education Group.
More information
Home/EU students and International UCAS applicants
E-mail for General Admissions: firstname.lastname@example.com or write to:
Admissions Office
Bangor University
Telephone: +44 (0)1248 383717
International students (non-UCAS applicants)
Email to International Admissions: firstname.lastname@example.com or write to
Admissions Office
Bangor University
Telephone: +44 (0) 1248 382028
Course Costs
- Full time: £9,000 per year
- Part time: £750 per 10 credits
When coming to University, you will have two main costs, Tuition Fees and Living Costs.
There are also some common additional costs that are likely to arise for students on all courses, for example:
- If you choose to study abroad or take the International Experience Year as part of your course.
- If you attend your Graduation Ceremony, there will be a cost for gown hire (£25-£75) and cost for guest tickets (£12 each).
Course-specific additional costs
Depending on the course you are studying, there may be additional course-specific costs that you will be required to meet. These fall into three categories:
- Mandatory Costs: these are related to a particular core or compulsory module that you'll be required to complete to achieve your qualification e.g. compulsory field trips, uniforms for students on placement, DBS Check.
- Necessarily Incurred Costs: these may not be experienced by all students, and will vary depending on the course e.g. professional body membership, travel to placements, specialist software, personal safety equipment.
- Optional Costs: these depend on your choice of modules or activity and they are shown to give you an indication of the optional costs that may arise to make sure your choice is as informed as possible. These can include graduation events for your course, optional field trips, Welcome Week trips.
How to Apply
How to apply through UCASApply online via UCAS
UCAS stands for Universities and Colleges Admissions Service. All university applications are processed through UCAS and then passed on to the universities listed.
Students may apply for a maximum of five courses. For Medicine, Dentistry and Veterinary courses students are only allowed to apply for four courses.
The application form is found on the UCAS website, under 'Apply'.
When to apply?
We advise you to apply as early as you can as we will start considering applications and making offers straight away. The initial UCAS deadline for UK and EU students is 15 January, however we welcome applications after this date. Those received between 15 January and 30 June will continue to be forwarded to universities by UCAS and will receive consideration where places are still available.
Your Personal Statement
Writing your Personal Statement is the part of the application form that requires most work. You are only allowed 47 lines or 500–550 words to explain why you wish to study the course and the skills you have that are essential for university study.
To write a successful personal statement for your UCAS application you must have a good understanding about the course and its content. Remember that you write only one personal statement for your five choices. Make sure that the courses are similar, if not the same, and make sure that you do not mention a specific course or university.
Read our advice on how to draft a winning personal statement or watch our video guide.
After you've applied
You should keep an eye on your application on UCAS 'Track'. Offers from universities will appear on track and you will be able to accept or decline offers.
You can only reply when you have received all your decisions. The types of reply you can make are firm acceptance and insurance acceptance. Usually students reply in early May.
International Student?
If you are an international student, our International Student pages offer further information on applying.
As an international student applying to study one of our undergraduate programmes you can:
- apply via UCAS,
- or apply direct to Bangor through our online direct application system
- or apply with the help of one of our recruitment agents
Erasmus student?
We receive around 350 exchange students every year from all over the world. 45% of these students come from Europe and the remainder from as far as Singapore, South Korea and Australia.
The University's International Exchanges Office is responsible for welcoming these students.
Confused about your next steps?
Take a look at our Going to University website for information and advice on getting ready for university.
Further Information
Why study a Creative Studies and Media degree?
Research and practice
- Our courses combine elements of research and practice.
- You have the opportunity to create and produce in all media fields under the supervision of staff that have many years of experience working in the media.
- We have excellent links with theatre companies, newspapers and the television industry. BBC Wales' television and radio centre is literally next-door, and there are many independent producers nearby.
- Students will be able to take advantage of the new Pontio centre, which includes a theatre, a cinema, a design and innovation centre, and spacious lecture rooms.
- Our students play a prominent role in many creative projects, such as Student Cut Films, two student newspapers – Seren and Llef – and a radio station, Storm FM.
Excellent Facilities
- We have a dedicated Media Centre with with editing suites, production studios, and digital media equipment.
- We also have a professionally equipped Radio studio with the latest digital equipment.
- The Centre has Avid, Matrox and analogue editing suites, and digital sound editing suites.
- We have a large performance space, computer lighting system and digital sound for rehearsal and performance work.
- We have a digital cinema with first-rate projection equipment and Dolby Surround Sound.
Our Staff
- Our staff have many years of experience working in the media, so can offer students practical guidance
- We have research active staff who are world-experts in their fields, providing advice to governments, corporations and NGOs
- We're a close-knit department and give individual attention to our students to help their development
Studying History with us
- We are a centre of academic excellence offering high-quality, research-led teaching
- History has been taught at Bangor since the foundation of the University in 1884 – we have a wealth of experience and a strong sense of tradition
- Our expertise spans medieval, early modern, modern and contemporary history as well as Welsh history, archaeology and heritage
- We are recognised for outstanding pastoral care and award-winning teaching
- Bangor is an inspiring location in which to study history, particularly Welsh History in which we have an unrivalled research record
- The School has an excellent teaching reputation with an emphasis on small group teaching and one-on-one support
- Our community of students, lecturers and researchers is a friendly and stimulating place to work and study
- The School has a proven record of research achievement, with the regular publication of books and articles by staff with international reputations in their fields
- Bangor is located in an area with an outstanding range of archaeology monuments: prehistoric tombs and stone circles, Roman forts, native farmsteads, and medieval castles including the World Heritage sites of Beaumaris, Caernarfon and Conwy
- Students are encouraged to take part in excavations and there are opportunities to work in the local Archaelogical unit, museums and archives
Studying at Bangor
Rated Gold for teaching
We have been awarded a Gold rating, the highest rating possible, for the standarad of our teaching in the Teaching Excellence Framework (TEF) assessment. The TEF assessment took into account teaching quality, learning environment and student outcomes and learning gain. We were judged to deliver consistently outstanding teaching, learning and outcomes for our students and our teaching is of the highest quality found in the UK.
Enjoy a university experience that's amongst the best in the UK
The guaranteed accommodation, student support, low cost of living and stunning location all contribute towards this.
Take advantage of the Bangor Student Experience with free membership of student clubs and societies, a new international experience programme and employability award scheme.
Award-winning clubs and societies!
Our clubs and societies have been awarded the Silver at the WhatUni Student Choice Awards 2020.
Unrivalled location
Choose to study in one of the best places in the UK to be a student. Bangor's location – close to the mountains and the sea - has been described as 'the best university setting in the UK'.
Bangor is the most affordable place in the UK to be a student (TotalMoney 2019).
Investment in facilities
Benefit from continued investment in facilities and services – with Pontio Arts and Innovation Centre, Halls of Residence, and improved sports facilities amongst recent developments.
Guaranteed accommodation in award-winning halls of residence
We guarantee accommodation for first year students who apply within the deadline and hold Bangor as their Firm Choice.
Related Courses
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- Creative Studies BA (Hons) (3 years)
- Creative Studies and English Language BA (Hons) (3 years)
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- Creative Studies and Music BA (Joint Hons) (3 years)
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- English Language with Film Studies BA (Hons) (3 years)
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- Film Studies and Chinese BA (Joint Hons) (4 years)
- Film Studies and Creative Writing BA (Joint Hons) (3 years)
- Film Studies and English Language BA (Joint Hons) (3 years)
- Film Studies and French BA (Joint Hons) (4 years)
- Film Studies and German BA (Joint Hons) (4 years)
- Film Studies and Italian BA (Joint Hons) (4 years)
- Film Studies and Spanish BA (Joint Hons) (4 years)
- Film Studies with Theatre and Performance BA (Hons) (3 years)
- French and Creative Studies BA (Joint Hons) (4 years)
- French with Journalism BA (Hons) (4 years)
- French with Media Studies BA (Hons) (4 years)
- German and Creative Studies BA (Joint Hons) (4 years)
- Hanes Cymru a Chymraeg BA (Cydanrhydedd) (3 years)
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- Heritage, Archaeology and History BA (Hons) (3 years)
- History BA (Hons) (3 years)
- History MArts (4 years)
- History (with Foundation Year) BA (Hons) (4 years)
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- History and Criminology and Criminal Justice BA (Joint Hons) (3 years)
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- History and English Literature BA (Joint Hons) (3 years)
- History and French BA (Joint Hons) (4 years)
- History and German BA (Joint Hons) (4 years)
- History and Italian BA (Hons) (4 years)
- History and Music BA (Joint Hons) (3 years)
- History and Spanish BA (Joint Hons) (4 years)
- History with Archaeology BA (Hons) (3 years)
- History with Film Studies BA (Hons) (3 years)
- History with Journalism BA (Hons) (3 years)
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- Media Studies (with Foundation Year) BA (Hons) (4 years)
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- Media Studies and Sociology BA (Joint Hons) (3 years)
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- Media Studies with German BA (Hons) (3 years)
- Media Studies with Italian BA (Hons) (3 years)
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- Modern and Contemporary History BA (Hons) (3 years)
- Music and Creative Writing BA (Hons) (3 years)
- Music and Film Studies BA (Hons) (3 years)
- Music and History and Welsh History BA (Joint Hons) (3 years)
- Music with Journalism BA (Hons) (3 years)
- Music with Theatre and Performance BA (Hons) (3 years)
- Philosophy & Religion and History BA (Joint Hons) (3 years)
- Philosophy & Religion and Welsh History BA (Joint Hons) (3 years)
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- Polisi Cymdeithasol a Hanes Cymru BA (Cydanrhydedd) (3 years)
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Liberty women's soccer coach Jessica Hain
2013 Spring Soccer Clinic Registration Form
Liberty Women's Soccer Head Coach Jessica Hain has announced the dates of camps and clinics for 2013. The next clinic will be Friday, April 12 from 2 p.m. to 6 p.m. Please see the registration form above for more information. For any additional questions, contact assistant coach Laura Armstrong at 434-582-2134 or firstname.lastname@example.com. The additional clinic dates are: Spring Clinic: April 12, 2-6 p.m. (in conjunction with CFAW) Summer Clinic: June 1 (Times TBD) Summer Camp: July 10-12 (Times TBD) Check back with LibertyFlames.com for more information regarding registration for these camps and clinics.
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Goop isn't going anywhere--and neither is Gwyneth Paltrow.
But, if the actress gets her way, the lifestyle brand she founded in 2008 will no longer be associated with her name. Speaking at the 2016 Sage Summit in Chicago this week, Paltrow shared her vision for Goop's future.
"In order to build the brand I want to build, its scalability is limited if I connect it to the brand," she said. "So I always think, 'How can I grow the brand? How can I separate myself from the brand? And I think its going to be more its own brand."
U.S. & World
The day's top national and international news.
To survive, Goop must evolve.
"More and more, I would like it to be its own brand," Paltrow said. "My dream is that one day no one will remember that I had anything to do with it."
A conscious uncoupling, if you will.
Don't mistake her comments as any indication that she plans to quit the business.
"The challenges I encounter every day running a business and operating a business are incredibly fulfilling, and totally terrifying and really awesome," she said. "It's been an amazing journey."
Goop's Super-Pricey Summer Work Week Essentials
"Goop is an e-commerce and content platform, and we say that we are devoted to making every choice count. We like to push boundaries, we like to move the needle, and we are not afraid to create some controversy once in a while," Paltrow added. "We want to become the first truly modern lifestyle brand built on a digital platform and everything that encompasses."
The Oscar winner got into the business long before any of her peers in Hollywood followed suit.
"I was making a conscious career change and really accepting the responsibilities which came along with it. I did a crash course on being a founder, running a business, giving myself permission to take a seat at the table as the founder and what that meant," she said. "There are so many challenges, just in terms of everything that had to learn and everything I didn't know."
What Paltrow soon realized, she said, was that "there was so much I didn't know I didn't know."
Paltrow wasn't the only celebrity to take the stage during the 2016 Sage Summit. Zooey Deschanel, Robert Herjavec and Ashton Kutcher and others all participated in various panels.


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"Cornerstones" were articles that appeared in the Sunday edition of the Calgary Herald between 1997 and 2000. The following article appeared December 6, 1998.
St. Mary's School (St. Martin de Porres)
• 1916 2nd Street S.W.
• Built: 1909
• Architect: James O'Gara, who collaborated with Hodgson and Bates. O'Gara also designed other Calgary buildings: St. Mary's Parish Hall; the medical, surgical and maternity wings of the Holy Cross Hospital; and the Lacombe Home in Midnapore. O'Gara became a separate school board trustee in 1911 and served as president of the Alberta Association of Architects in 1915.
• Contractor: Michael Healy
• Original cost: $63,969 including equipment
• Original owner: Lacombe Separate School District #1, formed in 1885 as the first Separate School District in the Northwest Territories, which included the Calgary area. In 1911 the name was changed to Calgary Roman Catholic School District #1.
• Construction materials: Red brick and sandstone.
• Original interior details: The Sisters of the Faithful Companions of Jesus described the new four-storey school building in their 1910 report." We re-opened the school in January, under very improved conditions…It is a tremendous advantage for us to get into this spacious building, which, apart from its usefulness, is certainly very ornamental. It is an academic-looking structure of vermilion - colored brick, with grey sandstone trimmings. It has fine double entrance doors, all glass, at the back and front; every room is lighted from the left, furnished with single desks, and with 70 ft. of blackboard. There is an enormous fire-hose at every landing and all the great corridors communicate at each end with fire escapes on the outside of the building. It is supplied with a modern method of ventilation, by means of air – shafts. There is electric light and steam heating throughout. The exterior is adapted to the interior; grass seed has been sown over the ground surrounding the school, so that in summer we shall have two elegant lawns; a fringe of small pines and maples skirt the fence near the road, and concrete walks have just been laid up to front and side entrances. At the top of the edifice is the Assembly Room for concerts having a stage with foot – lights and a drop curtain. The boarders relish the walk across the garden to school every day and their private study in the evening in their own classroom is all the better for the change."
Historical highlights:
• Calgary's first St. Mary's School was founded in 1885 by a teaching order called the Sisters of the Faithful Companions of Jesus. From 1885 to 1911, St. Mary's was the only school in the separate school district. A two-storey log cabin housed the convent and the school until 1893 when classes moved into the newly constructed Sacred Heart Convent, which also provided accommodation for resident students.
• The site of the 1910 St. Mary's School was part of a block of land acquired in 1883 by Father Albert Lacombe and Father Hippolyte Leduc for the Oblates of Mary Immaculate. The Oblates intended to develop a French speaking, Roman Catholic settlement south of Calgary. This area, now known as the Mission District, was incorporated in 1899 as the Village of Rouleauville and annexed to the city in 1907.
• On January 14th 1909, the school board passed a by-law for the sale of $65,000 worth of debentures to build a new school. In April the lowest tender was accepted from M. Healy for $55,548. By this time Calgary's population was 29,265 and climbing.
• St. Mary's was opened in 1910 with a teaching staff of nine and a janitor. Initially the school offered grades 1 to 12 for boys and girls
• Enrolment continued to increase and by 1911 the Assembly Room was converted into classrooms. Two years later additional classroom space was rented at Sacred Heart Convent.
• In 1918, senior boys' classes were relocated, creating St. Mary's College for Boys. Although the younger boys stayed at the 2nd Street St. Mary's, it became known as St. Mary's Girls' School. Until the 1960s it was the only Catholic high school for girls.
• St. Mary's closed for an extended period during the Spanish Influenza epidemic of 1918 – 1919
• In 1920 a Domestic Science Room was constructed.
• The Calgary Separate School Board offices were located at St. Mary's between 1924 and 1952.
• A $27,000 fire closed the school in November 1926 for nearly four months.
• In 1958 construction was completed on two new wings. The addition, designed by the architectural firm of Rule Wynn and Rule, included more classrooms, a gymnasium and a cafeteria. The 1909 north and south side entrances and a small library addition demolished at this time.
• By 1959 elementary and junior high classes were relocated to another school with St. Mary's offering grades 9 to 12.
• St. Mary's Boys' School, built on 18th Avenue S.W. in 1957 – 1958, was expanded in 1969 and became co-educational when girls' senior high classes were moved from St. Mary's Girls' School.
• In 1970 the old St. Mary's Girls' School became a junior high and was renamed St. Martin de Porres. The school closed in 1979 and the Calgary Pastoral Centre subsequently occupied the building. For the past three years old St. Mary's has been vacant.
• The Calgary Herald of October 1998 reported " By a 4-3 vote, trustees [Separate School Board] directed the administration to pursue demolition [of old St. Mary's Girls' School] although they gave those concerned about the destruction until January 1 to propose alternative uses."
• November 25, 1998, the School Board rescinded their motion for demolition. "That #461/98 regarding the old ST. Martin de Porres building be rescinded until further options can be explored by administration and that this item return to the Board for decision prior to April 1st/99."
• After delays to the April 1st decision, the Friends of St. Mary's Girls School (1909) proposed that the School Board enter into a working relationship with them.
• On June 23, 1999, the School Board voted 5-1 in favour that "the Board of Trustees delay a final decision on the disposition of the old St. Martin de Porres building until June 30, 2000."
• With the hope of working together with the School Board to identify funding opportunities, the "Friends of St. Mary's Girls School formed (in July 1999) a registered non-profit society under the new name, "Society for the Preservation and Restoration of St. Mary's School (1909).
"Then & Now" columns appeared weekly in the Calgary Herald between 2002 and 2005. The following article appeared July 23, 2002.
• St. Mary's School was designed by James O'Gara and built in 1909 on property acquired in 1883 by Fathers Albert Lacombe and Hippolyte Leduc. The site was part of a larger dominion government land grant that included the entire Mission district east of present day 4th Street S.W. This area, known as the cradle of Calgary's Catholic community, was incorporated in 1899 as the Village of Rouleauville and annexed by Calgary in 1907. When St. Mary's opened in 1910, with a teaching staff of nine and a janitor, the school offered grades 1 to 12 for boys and girls. Over the years, the school adapted to meet the changing educational needs and demographics of the Catholic community. Into the 1960s, it served as a girls' high school, and by 1970, as an elementary and junior high under the name of St. Martin de Porres. After the school closed in 1979, the Calgary Pastoral Centre occupied part of the building. Since 1998, when Catholic school trustees voted 4-3 to proceed with demolition of St. Mary's, a number of interested parties have made efforts to save the city's oldest purpose-built Catholic school from the wrecking ball.
• The Calgary Catholic school board, at an estimated cost of $700,000, is demolishing St. Mary's school complex. The Society for the Preservation and Restoration of St. Mary's School and its many supporters failed to save the historic school. In spite of lengthy negotiations and an offer to buy and move the 1909 building, demolition of the brick and sandstone structure began earlier this month. To date, no application for a development permit for the site has been received by the city.
This "Then & Now" article appeared June 24, 2003.
Then: Sacred Heart Convent
• The first Sacred Heart Convent, established in 1885 by Reverend Mother Greene of the Faithful Companions of Jesus, was a little log cabin on the banks of the Elbow River. Consecrated by the archbishop of the Northwest Territories in October 1885, it served as a boarding and day school for Roman Catholic girls and a residence for the teaching sisters. In 1893, increasing enrolment led to the construction of a new "gray stone" building with a French mansard roof. The school offered a full education in English and French. By 1913, the convent accommodated 14 teaching sisters and 75 boarders. The curriculum included plain and ornamental needlework, pianoforte playing, singing, painting, stenography and elocution. The school flourished, leading to the construction of St. Mary's School in 1909 and further additions to Sacred Heart Convent in 1924.
Now: Sacred Heart Convent
• Around 1982, the convent boarding school was converted to the Faithful Companions of Jesus Christian Life Centre, with a mission to "share God's vision for a peaceful, joy-filled and just world." Although it has been renovated many times over the years, many elements of the original 1893 structure remain intact. Surrounded by beautiful gardens, the FCJ Centre offers a wide variety of programs for members of all faiths, including retreats, workshops, family life programs, scripture courses, youth leadership training and spiritual direction.
Calgary (Alta.) -- History
Calgary, Alberta
Calgary Public Library, Central Library, Local History Room
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